Coleccion Nocturna for clarinets, piano and
4-channel tape, is a work of haunting isolation
and nostalgia that is loosely based on the
Neruda poem of the same name. It is a set
of five "variations" on what Felder
calls, "a wholly self-contained musical
object" from his older piano work called
Rocket Summer. The "theme" never
seems to be presented clearly in its entirety,
but what is clear is that diatonic fragments
are heard trying to poke their way through
five contrasting, modernistically surreal
textures. The variations mirror a kind of
electrifying tension as well as a crystallization
of emotions, 19 minutes of foremost constantly
changing musical perspectives, which despite
the technical demands speak with an extraordinary
directness. moderecords.com

Justice:
Written for actress, soprano, percussionist,
multichannel computer sound and real-time
surround sound, "Justice" is based
on the Greek tragedy of Clytemnestra and Agamemnon.
The text was adapted from "Aeschylus
and Euripides." All three performers-actress,
soprano and percussionist - portray aspects
of Clytemnestra's character as she contemplates
her husband's return from the Trojan War and
his subsequent death at her hand in retribution
for the death of their daughter, Iphigenia.

JUSTICE is a musical/dramatic presentation
of Clytemnestra's primary scenes from my text:
The Red Act (itself drawn from plays of Euripides
and Aeschylus). The whole is divided into
three parts:

I] Sacrifice centers on Agamemnon's decision
to kill Ipghigenia in order that the Greek
fleet be freed to sail on to Troy and exact
its revenge for the abduction of Helen. Clytemnestra
is at first incredulous, but gradually accepts
this inevitability and warns Agamemnon of
dire consequences.

II] Absence portrays Clytemnestra's emotions
during her husband's ten years away, and the
conflicting responses that his return arouses
in her.

III] Nightmare and Judgement is the longest
part. It addresses both the murder of Agememnon
and also Clytemnestra's proud defiance as
she portrays what she has done and why.
-Roger Reynolds

In the original conception of this work, Clytemnestra
was conceived as a tripartite being, performed
by actress, soprano, and percussionist. The
actress lines most directly articulated and
closely related to speech, the soprano a lyrical
extension of those lines, and the percussionist
further amplifying and articulating the thoughts,
words and actions of the actress and soprano.
Here, in Justice Arias, the actress and soprano
roles are fused together, but the compositional
divisions are still present in the various
forms of articulation.
-Tiffany Du Mouchelle

Friday
February 3, 2017 8pm
Saturday February 4, 2017 8pm

Artistic
Director:
Charles HauptExecutive Director: Irene Haupt

"A Musical Feast," in collaboration
with the Burchfield Penney Art Center and
the University at Buffalo Creative Arts Initiative,
presents:

A staged reading with live music of selected
scenes from both parts of Goethe's Faust.
Director Neil Wechsler has adapted the scenes,
condensing Goethe's original work into an
eighty-minute presentation. Nathan Heidelberger
has composed a new chamber score, playing
off the rich history of Faust-inspired music.
The scenes encompass the entire arc of Goethe's
masterpiece to capture the pitfalls, triumphs,
and ambiguities of human striving.

Water
(2015) Arranged by Daisy Wu"Shall We Gather at the River" (by Charles Ives), and "High Mountains and Flowing Water"
(Classic Chinese music). Remix and playing on Guzheng by Daisy WuVideo "The Way of Clinton Brook" by Robert John Holland 2015

Apparition (1979) George Crumb (1929)Elegiac Songs and Vocalises for soprano and amplified piano
The Night in Silence under Many a StarVocalise 1: Summer SoundsWhen Lilacs Last in the Dooryard Bloom'dDark Mother Always Gliding Near with Soft Feet
Vocalise 2: InvocationApproach Strong Deliveress!Vocalise 3: Death Carol Come Lovely and Soothing DeathThe Night in Silence under Many a Star
Mezzo-soprano Julia Bentley Pianist Kuang-Hao Huang

Intermission

Vent (2014)Choreographer and Performer: Melanie Aceto
Vent, a solo inspired by her work with Turkish vocalist Esin Gunduz, is
an exploration of our vulnerable and expressive relationship with
breath. Using consonant sounds, Melanie uses breath as propulsion and
restriction, creating a score that both accompanies and drives her
movement.

Tickets:
$35 General Admission Seating in the Peter and Elizabeth C. Tower
Auditorium$50 Angel Seating in the Peter and Elizabeth C. Tower Auditorium
$20 Simulcast viewing of the concert from the Reception Area